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Il Convito, Maude Gratton - Wilhelm Friedemann Bach: Concertos pour clavecin et cordes (2015)

Posted By: Designol
Date: 10 Jan 2024 15:34:27
Il Convito, Maude Gratton - Wilhelm Friedemann Bach: Concertos pour clavecin et cordes (2015)

Il Convito, Maude Gratton - Wilhelm Friedemann Bach: Harpsichord Concertos (2015)
EAC | FLAC | Image (Cue&Log) ~ 417 Mb | Scans included
Genre: Classical | Label: Mirare | # MIR162 | Time: 01:13:33

Overshadowed by his father, Johann Sebastian, and his brothers Carl Philipp Emanuel and Johann Christian, the music of Wilhelm Friedemann Bach provides a bridge between the high art of the first and expressive tendencies of Sturm und Drang. His Harpsichord Concertos, as performed here by Maude Gratton [of the Ricercar Consort] and Il Convito, offer a very successful synthesis of these two trends.
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Bruno Cocset & Maude Gratton - Beethoven: Sonatas for Fortepiano and Cello, Vol. 1 (2022)

Posted By: delpotro
Date: 22 Jun 2022 14:32:49
Bruno Cocset & Maude Gratton - Beethoven: Sonatas for Fortepiano and Cello, Vol. 1 (2022)

Bruno Cocset & Maude Gratton - Beethoven: Sonatas for Fortepiano and Cello, Vol. 1 (2022)
WEB FLAC (tracks) - 317 Mb | MP3 CBR 320 kbps - 168 Mb | Digital booklet | 01:12:38
Classical | Label: Alpha Classics, Outhere Music

Bruno Cocset, an eminent ambassador of the Baroque cello, here makes a teenage dream come true: to record the Beethoven sonatas. ‘When we rediscover it from the inside, this music overwhelms us: its art of the mise en abyme, its ability to deviate from the formal scheme, to dare to go as far as the uncontrolled surge of frenzy or the break in tempo. On the part of a champion of the metronome (Beethoven took a hand in its creation), this imperious seizure of freedom creates immeasurable spaces, thrusting performer and listener into unknown, unforeseen depths. The piano and the cello are bound together throughout the narrative by a fertile, pungent, exhilarating complementarity.’ At the fortepiano, a longstanding musical partner, Maude Gratton, plays two different instruments, chosen according to the character of each sonata: a Viennese piano after Johann Andreas Stein and an original John Broadwood from 1822, a model that circulated in Vienna and which Beethoven himself played. In order to tackle this repertory at the cusp of Classicism and Romanticism, Bruno Cocset commissioned a new cello from another faithful partner.
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